Transcript Document

THE EUROPEAN CULTURAL
LEARNING NETWORK
Research Tool-Kit for Partner Organisations
ECLN RESEARCH.
UPDATE 26 MAY 2013
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
Artists support
their own
learning and
the learning of
others by
engaging in
creative and
cultural
experiences.
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
This type of
learning we
are calling
‘Cultural
Learning’
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
Cultural
learning can
occur with
generalist,
specialist or
professional
learners.
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
Generalist
learners use
cultural and
creative
experiences to
primarily learn
about
themselves,
others and
cultures.
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
Specialist
learners use
cultural and
creative
experiences
primarily to
learn about
artistic forms,
practices and
techniques.
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
Professional
learners use
cultural and
creative
experiences
primarily to
learn about
work in the
cultural and
creative
industries.
European Cultural Learning
Network (ECLN)
Research Project
May-June 2013
People can
engage in
cultural
learning on
their own,
within groups
or as part of a
community.
European Cultural Learning Network
Research Project
• During May-July, 2013 cultural organisations in
10 countries will carry out some research
about cultural learning.
• These cultural organisations will invite artists
and cultural organisations to participate in the
research.
• The published results of the research will be
available from October 2013 on the ECLN
web-site.
ECLN: LINKING OUR RESEARCH
QUESTIONS TO THE 6 CHARTS
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1. What does Cultural Learning look like in a European context?
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Where does Cultural Learning happen (context)? CHART 1
Who engages in Cultural Learning? CHARTS 1/2
What is the content of Cultural Learning? CHARTS 1/2
How is cultural learning resourced? CHART 2
How is Cultural Learning evaluated? CHART 2
What pathways do people take into Cultural Learning? CHARTS 1/3
How do people and organisations progress over time in the Cultural Learning field (patterns/routes/roots)? CHARTS 1/3
What are the positive and negative forces in the cultural learning field? CHART 3
What are the educational patterns among Cultural Learners and Learning Facilitators? CHART 3
What are the recognition patterns among Cultural Learners and Cultural Learning Facilitators? CHART 3
What is the underlying logic within the cultural learning sector for individuals and organisations involved in it? CHARTS 3/5
2. To what extent is there a need for a European Cultural Learning Association? CHART 4
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What potential roles/functions do Cultural learners and Cultural Learning Facilitators consider important for them and for others
in the sector? CHART 4
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3. How does terminology and concepts of Cultural Learning transfer across countries In Europe? CHART 6
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4. What difference does the country context make to the cultural learning sector within the cultural and creative
sector of that country? CHARTS 3/5
Research Participants
• Each ECLN organisation will invite a maximum of:
• 20 Artists/Freelance Creatives to complete Charts 1-4;
• 5 of these participants, who support Cultural Learning,
will also record their narratives about Chart 3;
• These same 5 participants will also complete Chart 5a
and then complete Chart 5b together in a facilitated
group;
• AND
• 5 Directors or Senior Staff from Cultural Organisations,
that support Cultural Learning, to complete Charts 1-4,
record their narratives from Chart 3 and complete
Charts 5a and 5b.
Research Participant Profiles
• The Artists/Freelance Creatives need to be selected so that
they have different art-forms represented e.g. creative and
performing arts;
• The Artists/Freelance Creatives need to be selected so that
they include a range of demographics e.g.
• Young artists/freelancers (up to 25 years old);
• Adult artists/freelancers (26-49);
• Mature adult artists/freelancers (50-74);
• Senior adult artists/freelancers (75+);
• These Cultural Organisations need to be selected so that
they have different art-forms represented. They should try
to include organisations who work with various art-forms
e.g. creative and performing arts;
Permission Forms
• There is a research permission form for each research
participant to sign. This form should be translated into
the mother tongue of the participants
• This form explains how the research will be used and
how the data will be stored
• Each research participant will need to sign a copy of
the form in English/or the copy in their mother tongue
AND the english version of the same document
• Each research participant will given a code which
represents the country code, the type of participant i.e.
artist or cultural organisation and the participant
number
Codes for ECLN Research
• Country Codes from ISO 3166 will be used:
• CY=Cyprus; HR=Croatia; EE=Estonia; GR=Greece; IT=Italy; NL=Netherlands;
PL=Poland; ES=Spain; SI=Slovenia; GB=United Kingdom;Denmark=DK;
• Artist/Freelancers= AF
• Cultural Organisations=CO
• AF participants 001-020
• CO participants 001-005
• For example UK artists will be represented as a series GBAF001-GBAF020
and Polish Cultural organisations will be represented PLCO001-PLCO005
• Each ECLN organisation should keep a record of the full contact details of
each participant together with the participant code number allocated to
that individual AND their completed permission form. These will need to
be despatched with the charts.
The 7 Charts for the research
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There are 7 Charts for the research
They need to be printed on A3 size paper
Charts 3 and 6 are double-sided
There is a picture of each Chart in the following slides with an
explanation of how to use the Chart
• On each Chart there is a space for the ECLN Cultural Organisation to
write their name and the participant code number
• Chart 6 is for the Partner Organisation to complete during
discussions with the research participants and within their own
organisation
• Chart 7 (a+b) is for each Partner Organisation to insert the data of
all research participants (a=individual artists/freelance creatives
and b=representatives from cultural organisations) and to link each
participant with the allocated code
RESEARCH TOOL-KIT CHART ONE:
MAPPING CULTURAL LEARNING ZONES
IMAGE OF RESEARCH TOOL-KIT CHART ONE
Mapping Cultural Learning Zones
HOW TO USE CHART ONE
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Chart One is concerned with placing yourself in 9 possible zones of Cultural Learning.
STEP ONE: In which of the 9 zones are you currently located? (See the next 9 slides to help you choose). Mark
each of these with a ‘C’ in the first Location box and include the relevant Art-form code(s) in the box directly
underneath it: using the key: Music, Theatre, Dance, Circus, Film, Visual Arts, Photography, Animation, Comedy,
Sculpture, Design, Craft, Performance Art, Cuisine, Other
STEP TWO: In which of the 9 zones have you been historically located in any previous part of your life? Mark each
of these zones with a ‘H’ in the second or middle Location box and include the Art-form code(s) in the box directly
underneath it: using the same key: Music, Theatre, Dance, Circus, Film, Visual Arts, Photography, Animation,
Comedy, Sculpture, Design, Craft, Performance Art, Cuisine, Other; Number all the ‘H’ locations in sequence from
younger to older years leading up to your current location(s) e.g. H1 (aged 10), H2 (aged 15), H3 (aged 25) etc.
STEP THREE: If you support or help other people to develop their arts/cultural practices who are located in any of
the 9 zones then you are supporting cultural learning. This covers the whole range from formal teaching in a
classroom to informally meeting with other writers or artists to engage in peer support. This support can take
place as a 1-1 session, in small groups or as part of a larger community. Mark any of the zones in which you
provide support for cultural learning with a ‘SCL’ in the appropriate 3rd Location box together with the Art-form
supported directly underneath it using the same codes : Music, Theatre, Dance, Circus, Film, Visual Arts,
Photography, Animation, Comedy, Sculpture, Design, Craft, Performance Art, Cuisine, Other
STEP FOUR: Now use the space on the back of the chart to present the ‘sequence of the zones’ in your own
journey from your first cultural learning experience (H1) to the zone(s) in which you are currently located (C)
giving the zone references as shown below :
Individual/Professional (IP); Individual/Specialist(IS): Individual/Generalist(IG);
Group/Professional (GP); Group/Specialist (GS); Group/Generalist (GG);
Community/Professional (CP); Community/Specialist (CS); Community Generalist (CG);
Include the art-form codes used in each zone in your sequence:
e.g. Historic 1=(IS)M—Historic 2=(GS)M—Historic 3=(IG)Ph—Current=(IP)M+(GG)Ph+(GG)Da.
How do you choose which zones you
are in or have been in historically?
• Generalist Learners primarily use cultural and creative
experiences to learn about themselves, others and cultures.
• Specialist Learners primarily use cultural and creative
experiences to learn about artistic forms, practices and techniques.
• Professional Learners primarily use cultural and creative
experiences to learn about work and working in the cultural and
creative industries.
• 9 Cultural Learning Zones are explained in the next 9 slides and
these give examples of who is located in each of the 9 Cultural
Learning Zones. This may help you to locate your current zones and
your historic zones. It may also help you to locate the zones in
which you support others in their cultural learning. Don’t forget to
add your art-form or art-forms in the grid in each zone.
European Cultural Learning
Network
Research Project
May-June 2013
Artistic Type:
Generalist
Micro Level:
Individual
Objectives:
Creative play,
discovery and
exploration
through
individual
endeavour.
• ‘Playing around with artistic
materials or equipment’
• ‘First cultural artistic
experiences as an individual’
• ‘Writing or creating on your
own’
• EXPLORER
• DISCOVERY
• CREATOR
• FUN ON YOUR OWN
European Cultural Learning
Network
Research Project
May-June 2013
• ‘Group play with artistic
materials or equipment’
Artistic Type:
Generalist
• ‘Cultural artistic experiences
as a participant in a group’
Meso Level:
Group
• ‘Creating with others’
Objectives:
• SHARING
Participation in a
• MAKING TOGETHER
social, learning or
• BEING PART OF SOMETHING
ad-hoc group
using cultural and • FUN IN A GROUP
artistic activities.
• ‘Coming together to use
artistic materials or
equipment’
Artistic Type:
• ‘Cultural artistic experiences
Generalist
as a participant in a
Macro Level:
community’
Community
• ‘Creating with diverse
Objectives:
others’
Participation in a
• CONNECTING
community
(physical or virtual) • EXPERIENCING DIVERSITY
based on shared
• USING DIFFERENCES
interests using
cultural and artistic • BUILDING SOMETHING
TOGETHER
activities.
• STRENGTH IN A COMMUNITY
European Cultural Learning
Network
Research Project
May-June 2013
• ‘Commitment to become a
specialist in artistic and
cultural practices’
Artistic Type:
• ‘Deepening artistic and
Specialist
cultural experiences’
Micro Level:
• ‘Becoming aware of your
Individual
own strengths and
Objectives: Depth,
limitations’
breadth of cultural
and artistic
• IDENTITY
attitude, skills and
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DEPTH
OF
EXPERIENCE
knowledge through
• PROGRESS
individual
endeavour.
• MOTIVATION
European Cultural Learning
Network
Research Project
May-June 2013
European Cultural Learning
Network
Research Project
May-June 2013
Artistic Type:
Specialist
Meso Level:
Group
Objectives:
Developing cultural and
artistic collaborative
attitudes, skills and
knowledge through
participating in a nonprofessional cultural
and artistic ensemble or
group context.
• ‘Team work with artistic
materials or equipment’
• ‘Shared cultural and artistic
experiences as a participant
in a specialist group’
• ‘Contribute to the collective
reputation of the group’
• VISION
• DELIVERY/PERFORMANCE
• BEING ACCOUNTABLE
• GROUP IDENTITY
• ‘Coming together as a
community of specialists’
• ‘Recognition and benefits as
Artistic Type:
a participant in a specialist
Specialist
community’
Macro Level:
• ‘Using the references,
Community
language and symbols of the
Objectives:
community’
Recognition,
association and
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RECOGNITION
networking through
• INSIDER NETWORKS
participation in a
specialist community
(physical or virtual) in • SUPPORT OF/FOR
COMMUNITY
a non-professional
context.
• STRONGER TOGETHER
European Cultural Learning
Network
Research Project
May-June 2013
European Cultural Learning
Network
Research Project
May-June 2013
Artistic Type:
Professional
Micro Level:
Individual
Objectives: Gaining
and maintaining
employment,
freelancing, or
setting up
enterprise through
individual
endeavour.
• ‘Opportunity to become a professional
in artistic and cultural practices’
• ‘Deepening understanding of
professional practices through own
professional experiences’
• ‘Becoming aware of your own strengths
and limitations in relation to industry,
audiences/markets and competition’
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PROFESSIONAL PERSONA
INDUSTRY INFRASTRUCTURE
CONTRACTUAL RELATIONSHIPS
PROFESSIONAL EXPERIENCE
CAREER
AUDIENCE/MARKET DEVELOPMENT
• ‘Balancing professional objectives
and team work with artistic vision,
materials or equipment’
• ‘Contractual deliverables in the
Artistic Type:
form of cultural and artistic
experiences, products or services’
Professional
• ‘Impact on the collective
Meso Level:
professional reputation of the
group’
Group
• REALISM
Objectives:
• RELIABILITY
• GOALS/STRATEGY
Blending
• RISK MANAGEMENT
professional,
cultural and artistic • STAKEHOLDER MANAGEMENT
European Cultural Learning
Network
Research Project
May-June 2013
objectives with
teamwork in an
ensemble or group.
• ‘Coming together as a
community of professionals to
share knowledge, be critical and
create opportunities for
Artistic Type:
sustainability ’
Professional
• ‘Managing cooperation and
Macro Level:
competition (coopetition) within
Community
the professional community’
Objectives:
• ‘Advocating, promoting and
Support
supporting the professional
professional cultural
community to external
and artistic
stakeholders and the public’
practices and
• SUPPORT OWN STATUS QUO
contexts through a
• SUSTAINABILITY/SUCCESSION
professional
community
• LOBBY/ADVOCATE
(physical or virtual). • LEVERAGE MAXIMUM POWER
European Cultural Learning
Network
Research Project
May-June 2013
RESEARCH TOOL-KIT CHART TWO:
SUPPORTING THE CULTURAL
LEARNING OF OTHERS
IMAGE OF RESEARCH TOOL-KIT CHART TWO
Supporting the Cultural Learning of Others
HOW TO USE CHART TWO
• Chart Two is concerned with supporting the cultural learning of
others.
• Estimate the percentage of support in cultural learning that you do
that is unpaid or voluntary; paid for by those supported; or paid for
by others than those supported. If it is paid for by others give
details of who pays and why?
• How you have supported others in the last 5 years? Please ‘tick’ the
appropriate boxes and then highlight what you consider to be the
most important 5 skills and knowledge types for supporting cultural
learning by putting a circle around 5 items in the list.
• Which zones are people in that have been supported by you over
the last 5 years? Tick these.
• How do you or others evaluate the quality and usefulness of your
support? Please tick the appropriate boxes and answer the short
questions.
RESEARCH TOOL-KIT CHART THREE:
YOUR CULTURAL AND CREATIVE JOURNEY
IMAGE OF RESEARCH TOOL-KIT CHART THREE
Your Cultural and Creative Journey:
Influences, Experiences and Achievements
HOW TO USE CHART THREE
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Chart Three is concerned with describing what you feel to be the key aspects of
your Cultural and Creative journey or the journey of your organisation.
Tick the box to select whether you are describing your own individual journey or
that of your organisation and add the calendar years in the brackets along the
chart e.g. 2013 so that we can see the direction of your time-line. Then add
i) the important people and organisations that supported you or your organisation
on the journey;
ii) the important people and organisations that blocked you or your organisation
on the journey;
iii) the important spaces or places in the journey;
iv) the important pieces of work, artefacts or projects carried out;
v) the important achievements, types of recognition or awards gained on the
journey;
vi) the important events that have impacted the creative journey;
If you have certain years that have a lot happening and other years with less then
you can fill up the spaces in the chart using arrows linking the comments with the
appropriate year and the appropriate coloured prompt line.
You may also be invited to tell us the story of your individual journey or that of
your organisation, which will be recorded.
RESEARCH TOOL-KIT CHART FOUR:
TO WHAT EXTENT IS THERE A NEED FOR A
EUROPEAN CULTURAL LEARNING ASSOCIATION?
IMAGE OF RESEARCH TOOL-KIT CHART FOUR
To what extent is there a need for a European Cultural
Learning Association?
HOW TO USE CHART FOUR
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Chart Four is concerned with the need for a European Cultural Learning
Association.
6 of the 8 boxes presents a potential role for a European Cultural Learning
Association. The 7th box asks you to suggest another potential role. The 8th box
asks you to suggest ‘others’ that you think may find certain roles important.
If you consider that the role in a box is important to you then circle the ‘yes’. If not,
circle the ‘no’. If you consider that the role is important to others then circle the
‘yes’. If not, circle the ‘no’. If you don’t have an opinion on whether it is important
to others leave this blank.
There are 5 blank stars in 7 of the boxes. These stars enable you to rate this role as
low to high priority as far as you are concerned. If it is very low priority - shade 1
star, low priority – shade 2 stars, medium priority –shade 3 stars, high priority –
shade 4 stars and if it is very high priority - shade five stars.
In 6 of the 7 boxes there are some examples given. If you like a particular example
then please tick it. If you don’t like a particular example then put a line through it.
If you have suggested a role in box 7, please give one or more examples.
If you have suggested that ‘others’ will find a role important, please name these
‘others’ in box 8.
RESEARCH TOOL-KIT CHART FIVE a) and b):
COUNTRY CONTEXT MAP AND THE
CULTURAL AND CREATIVE SECTOR
IMAGE OF RESEARCH TOOL-KIT CHART FIVE a)
Country Context Map and the
Cultural and Creative Sector
HOW TO USE CHART FIVE
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Chart Five is in 2 parts a) and b) and is concerned with Cultural Learning in a particular country context.
CHART 5a)
Stage 1: The individual completes the top part of the chart by writing ‘trends’ or ‘patterns’ or ‘changes’ that they are aware of in the
following boxes:
i)‘Social trends’ refers to changes in society or social structure, demographics etc.
ii)‘Government trends’ refers to changes in policy, legal or government etc.
iii)‘Economic trends’ refers to changes in the economy, employment prospects, unemployment rates, growth in gross domestic product
or any other economic indicators etc.
iv)‘Technology trends’ refers to changes in use and application of technology to all aspects of life etc.
v)‘Environmental/Ethical trends’ refers to changes in attitudes, Non-Governmental Organisation campaigns, climate change and low
carbon and renewable energy trends etc.
Stage 2: The individual completes the bottom part of the chart by writing ‘impacts’ that they are aware of in the following boxes.
i)‘Creative Businesses ’ refers to commercial enterprises working in design, architecture, film &TV, music etc.
ii)‘Cultural and Social Enterprises’ refers to not-for-profit or subsidised enterprises working in arts and culture etc.
iii)‘Artists and Creative Freelancers’ refers to individuals who are self-employed etc.
iv)‘Arts Audiences and Participants’ refers to people who attend, participate in or consume artistic events , activities and programmes
etc.
v)‘Public Investors’ refers to governmental organisations that fund arts events, activities, programmes and artists etc.
vi) ‘Private Investors’ refers to private individuals or organisations that fund arts events, activities, programmes and artists etc.
Vii) ‘Cultural Learning’ refers to any kind of support that artists provide to enable others to learn using artistic and cultural practices
CHART 5b)
The individual joins a small group of 4 others supported by a group facilitator and a scribe. The facilitator reviews the individual charts
presented by the 5 individuals and the scribe synthesizes the 5 contributions into 1 collective country context .
RESEARCH TOOL-KIT CHART SIX:
DEVELOPING A EUROPEAN CULTURAL LEARNING GLOSSARY
IMAGE OF RESEARCH TOOL-KIT CHART SIX
Developing a European Cultural Learning Glossary
Chart 6
• This Chart is the beginning of a European
Cultural Learning Network Visual Glossary.
This captures the terminology and concepts of
Cultural Learning and examines how these
travel across different European countries.
• Partner Organisations will complete this,
adding to it by consulting with people in their
own organisation and the research
participants.
RESEARCH TOOL-KIT CHART SEVEN:
DATA COLLECTION OF RESEARCH PARTICIPANTS
IMAGE OF RESEARCH TOOL-KIT CHART SEVEN A)
Data Collection of Research Participants
IMAGE OF RESEARCH TOOL-KIT CHART SEVEN B)
Data Collection of Research Participants
Chart 7
• Chart 7a is for each Partner Organisation to insert
the data of all individual artists/freelance
creatives who are research participants and to
link each participant with the allocated code.
• Chart 7b is for each Partner Organisation to insert
the data of all representatives from cultural
organisations who are research participants and
to link each participant with the allocated code.
• Partner Organisations will complete these charts
and store them securely both physically and
electronically.
Research Data and Completed Charts:
• All Charts are to be collected and safely stored and
then scanned and up-loaded as a bulk upload to the
VIA University College portal along with the Video
footage from the 10 narratives related to Chart 3 (5
Freelancer/5 Organisations) and the video footage
from Chart 5 (1 group discussion of freelancers and 1
group discussion of organisations) and all 25 data/code
allocation sheets.
• All Charts are to be colour-photocopied including
double-sided Charts 3 and Chart 1 (participant
sequence drawing) and all video footage needs to be
saved toDVD and posted to Denise Stanley at Collage
Arts.
Further Information and
help with the research
• You need to arrange a skype call with Denise
approximately every 2 weeks to deal with any
questions, issues and to help you progress with
your research plans;
• If you need any immediate support through the
process then please contact Denise either by:
• email: [email protected]
• Phone/Text 00447906188843
• Skype:denise.harry.stanley